village of Bayamo entered the history of Cuban culture a few decades
after its foundation. The
events motivating the apparition of the first epic poem of Cuban
literature took place in that village in 1604. The picturesque features
that appear in this population, derived from varied literature influences
and the presence of different ethnic groups among the militias participating
in the rescue of Bishop Altamirano, had their origin there. Bayamo
was a city of great importance given the momentum of contraband
commerce in a city not wanting to be behind Havana´s economical
and cultural development.
Together with his rebel spirit, Bayamo gave birth to patricians
that sought in culture an appropriate path for their eagerness of
progress. They opted for journalism, laws, poetry, music, and others.
Thus, heroic people of Bayamo chose their way in life: Francisco
Vicente Aguilera abandoned his comfortable cult and wealthy life
to devote his efforts to organize the war of independence; in the
same way acted Carlos Manuel de Céspedes, amateur musician
linked to the beginnings of the "trova" in Bayamo; Pedro
Figueredo Cisneros (Perucho) improvised the National Hymn during
his natal city takeover; and José Fornari, tightly linked
to the politics of his time, used journalism as a way to defend
the independence ideals and cultural identity of his people.
Already in the 20th century, José Manuel Poveda, illustrious
poet from Manzanillo,
led in 1913, together with Agustín Acosta and Regino Boti,
a movement of poetic renovation that placed Cuban poetry in the
top levels of the continent.
Inheriting the patriotic and cultural virtues of her predecessors,
Celia Sánchez Manduley, covert fighter and heroic guerrilla
in the National Liberation War, devoted herself after the triumph
of the Revolution in 1959, to promote culture and recreation in
facilities like Lenin Park in Havana, to create agricultural communities,
and to guarantee the custody of the historical legacy of the quest